The artistic practice of Artjom Chepovetskyy perates within the dynamic interplay of painting, object, drawing, and spatial installation. Rooted in the observation of urban structures and architectural fragments, he develops an abstract visual vocabulary that consciously transgresses traditional genre boundaries. His work is less concerned with representation than with transformation—it condenses, materializes, and persistently explores new formal configurations in which material, gesture, and space engage in dialogue.

A pivotal element of Chepovetskyy’s practice is his engagement with textile materials. Translucent fabrics such as organza or chiffon, delicate layers of paper, and chromatic superimpositions generate a visual openness that extends beyond the pictorial surface. The transparency of the materials integrates light, space, and depth as active components of the work. The textile aspect not only evokes tactile and structural qualities but also conveys emotional and atmospheric dimensions. Here, painting is not conceived as a finished image, but rather as a process—a woven interplay of meaning, corporeality, and movement.

These subtle interventions enter into dialogue with a series of ceramic works. Formed from air-drying clay, they take the shape of linear elements reminiscent of strips of paper lifted from the spatial continuum. Painted with gentle color gradients, they function as sculptural drawings. Their suspended presence on the wall underscores the linear within the sculptural—a line that has assumed physical form. Once again, Chepovetskyy dissolves the boundaries between media, allowing painting, sculpture, and drawing to fluidly merge.

A third body of work comprises paper-based pieces created through experimental printing techniques. These printed sheets are folded, creased, and liberated from their conventional rectangular format, thus asserting a spatial presence. They oscillate between surface and volume, between image support and object. Whether presented in object frames or mounted freely as wall reliefs, they highlight both the fragility and resilience of their material. Chepovetskyy employs minimal gestures with maximal effect—subtle disruptions that shift perceptual experience.

Across all these groups of work, a central question repeatedly emerges: How can painting become space? How can material bear meaning—not through depiction, but through presence? Chepovetskyy responds with quiet gestures, permeable structures, and a consistent resistance to definitive form. What endures is a state of movement—between media, between conditions, and along the thresholds of the visible.